
“诞生于1828年的卷笔刀,在一个半世纪后的2014年迎接“黄金时代”!80-90年代卷笔刀是教育必备品,350只卷笔刀打造的‘迷你博物馆’忠实记载着社会人对于生活的认知和对世界的雄心。” —顾婧
“Invented in 1828, pencil sharpener embraced its golden age in one and a half centuries later. A mini museum made of 350 little pencil sharpeners, will create new dreams and glories for this little tool (friend) who once enriched the life of a little girl. --Gu Jing
视界艺术中心 1空间
莫干山路50号3号楼210
2014 3.15 — 5.18
V ART CENTER space 1
No.210,Bulilding3,M50,Moganshan RD,Shanghai
2014 3.15 — 5.18
“工具展”
上世纪80年代中期至90年代初,是传统意义上的卷笔刀的黄金时代。某年代私人收集被展示‘梦’是期待传播的意愿,也来自拥有者的知识背景、身份变化。这个学习必备工具设计写实,忠实临摹现实环境,数量有限却涵盖面广,属一代人的共享记忆。
2014年艺术环境翻新促生展示空间-博物馆、民营美术馆、藏家美术馆、艺博会、艺术ShoppingMall、Showroom、衍生品生活馆……数量与体量渴求展示对象。而此时,从业者流动并急切转换知识的手段别具特色,传播“当代”的个人智慧高度开发着。
350只卷笔刀的迷你博物馆引来的话题“A New Museum's Coming!”,直接邀请了出版人、资深编辑、专栏作家、媒体平台开发者、‘鸡汤’生产车间,西方艺术史研究者或兼策展研究者、涉猎广泛的艺术实践者…… 他们看待这个话题的反映和手段,被展示为非盈利空间需要的“作品”(视界艺术中心1空间),也将出现在他们正工作的平台中,并不断更新至5月18日。
邀请对象:
沈奇岚 Shen Qilan(复旦大学哲学系硕士,德国明斯特大学哲学博士,专栏作家,撰稿人,国际文化交流)
顾婧Gu Jing(清华大学新闻学士,艺术史硕士。现于上海博物馆教育部)
王欣 Wang Xin(芝加哥艺术学院新媒体硕士,职业催眠师,正经营一个基于网络和实体之间的乌托邦项目“THE GALLERY”)
马一木 Ma Yimu (原南方都市报城市杂志中心副主编自媒体,ONE 一个 聚合平台执行主编)
刘星 liu Xing ( 同济大学电影编导学士,法国巴黎三大电影和视觉艺术硕士,《大都市》资深编辑|Cinéma et audiovisuel ,Paris III la Nouvelle Sorbonne, Senior Editor , 《Numero》,Moden Media )
Stephen Bradley (Associate Professor & IMDA Graduate Program Director,UMBC )
+ 胡任义 Hu Renyi (纽约视觉艺术学院 SVA)
陆兴华 Lu Xinghua( 现任同济大学哲学系副教授,主要从事法国哲学方面的研究,较多关注政治哲学、美学和艺术理论,近年参与艺术项目包括“未来的节日”、“朗西埃中国行”、“发生-暂定名”……)
刘化童 Lu Huatong (原名:刘旭俊,同济大学哲学硕士,《艺术世界》作者;诗人,笔名“刘化童”)
鸣谢: Sarah Fraser 胡素心,徐宁 Xu Ning ,徐震 Xu Zheng ,Lynn Zhang,湛旭华 Zhan Xuhua ,纪洋 Ji Yang
支持: 创弈共和 上海视觉艺术学院 芭莎艺术 COOL K2 STUDIO hiart
“A New Museum's Coming!”
The dreams that lie in these private collections of 1980-90s differ from the various individual background and identity, longing for spread. As one of the essential goods during that period, like the other functional objects, pencil sharpener was usually shaped realistically, which becomes a vivid representation of the actual environment. Though quite limited in style, its motifs cover all aspects of common life. One would love to have even if other has the same.
Back to 2014, the surface structure of art world has been continuously stimulated by the enormous vitality of economy. Shanghai has recently witnesses an outburst of public and private museum, art fair, showroom, galleria, and other alternative space - while the amount of local artists seems quite insufficient for the volume. The frequent practitioner turnover and individual desire for energy transformation lead to a highly intellectual exploration in term of contemporary knowledge production.
Titled in advertising tone A New Museum’s Coming, the mini museum invited participants from diverse domains, who could look into the issue from a distance, including publisher, senior editor, freelancer, we media developer, philosopher, art historian, curator and artist etc. Their responses and methodologies will become part of the work presented in V ART CENTER space 1 - the non-profit space, and at same time appear in each of their own work – the field beyond exhibition space, and constantly updated to May 18.
Participants include:
Shen Qilan (PhD. Philosophy and Religious Studies, University of Münster, Art Critic, Cultural Exchange, Freelance Writer and Editor)
Gu Jing (MA in Art History, Qinghua University, currently works in the Education Department of Shanghai Museum)
Wang Xin (MA in New Media, The Art Institute of Chicago, Hypnotist, she is running THE GALLERY - an internet-and-entities-based utopia project, which will be presented at UK)
Ma Yimu (Excutive Manerger of wemedia ONE)
Liu Xing (MA in Cinema and Vision Art, Paris III Sorbonne-Nouvelle University, Senior Editor of Numéro)
Stephen Bradley (Associate Professor & IMDA Graduate Program Director,UMBC) + Hu Renyi (Artist, Professor at School of Visual Arts, New York)
Lu Xinghua (Associate Professor of Philosopher, Tongji University, recent projects include Future Festival, A Conversation with Jacques Rancière, Take·Place - TBC)
Liu Huatong (MA in Philosophy, Tongji University, Editor of Art World, Poet)
THANKS: Sarah Fraser 胡素馨, 徐宁 Xu Ning ,徐震 Xu Zheng ,Lynn Zhang,湛旭华 Zhan Xuhua ,纪洋 Ji Yang
Support: ITOPIA ,Shanghai Institute Of Visual Art,BAZART ,COOL, K2 STUDIO, hiart
“Invented in 1828, pencil sharpener embraced its golden age in one and a half centuries later. A mini museum made of 350 little pencil sharpeners, will create new dreams and glories for this little tool (friend) who once enriched the life of a little girl. --Gu Jing
视界艺术中心 1空间
莫干山路50号3号楼210
2014 3.15 — 5.18
V ART CENTER space 1
No.210,Bulilding3,M50,Moganshan RD,Shanghai
2014 3.15 — 5.18
“工具展”
上世纪80年代中期至90年代初,是传统意义上的卷笔刀的黄金时代。某年代私人收集被展示‘梦’是期待传播的意愿,也来自拥有者的知识背景、身份变化。这个学习必备工具设计写实,忠实临摹现实环境,数量有限却涵盖面广,属一代人的共享记忆。
2014年艺术环境翻新促生展示空间-博物馆、民营美术馆、藏家美术馆、艺博会、艺术ShoppingMall、Showroom、衍生品生活馆……数量与体量渴求展示对象。而此时,从业者流动并急切转换知识的手段别具特色,传播“当代”的个人智慧高度开发着。
350只卷笔刀的迷你博物馆引来的话题“A New Museum's Coming!”,直接邀请了出版人、资深编辑、专栏作家、媒体平台开发者、‘鸡汤’生产车间,西方艺术史研究者或兼策展研究者、涉猎广泛的艺术实践者…… 他们看待这个话题的反映和手段,被展示为非盈利空间需要的“作品”(视界艺术中心1空间),也将出现在他们正工作的平台中,并不断更新至5月18日。
邀请对象:
沈奇岚 Shen Qilan(复旦大学哲学系硕士,德国明斯特大学哲学博士,专栏作家,撰稿人,国际文化交流)
顾婧Gu Jing(清华大学新闻学士,艺术史硕士。现于上海博物馆教育部)
王欣 Wang Xin(芝加哥艺术学院新媒体硕士,职业催眠师,正经营一个基于网络和实体之间的乌托邦项目“THE GALLERY”)
马一木 Ma Yimu (原南方都市报城市杂志中心副主编自媒体,ONE 一个 聚合平台执行主编)
刘星 liu Xing ( 同济大学电影编导学士,法国巴黎三大电影和视觉艺术硕士,《大都市》资深编辑|Cinéma et audiovisuel ,Paris III la Nouvelle Sorbonne, Senior Editor , 《Numero》,Moden Media )
Stephen Bradley (Associate Professor & IMDA Graduate Program Director,UMBC )
+ 胡任义 Hu Renyi (纽约视觉艺术学院 SVA)
陆兴华 Lu Xinghua( 现任同济大学哲学系副教授,主要从事法国哲学方面的研究,较多关注政治哲学、美学和艺术理论,近年参与艺术项目包括“未来的节日”、“朗西埃中国行”、“发生-暂定名”……)
刘化童 Lu Huatong (原名:刘旭俊,同济大学哲学硕士,《艺术世界》作者;诗人,笔名“刘化童”)
鸣谢: Sarah Fraser 胡素心,徐宁 Xu Ning ,徐震 Xu Zheng ,Lynn Zhang,湛旭华 Zhan Xuhua ,纪洋 Ji Yang
支持: 创弈共和 上海视觉艺术学院 芭莎艺术 COOL K2 STUDIO hiart
“A New Museum's Coming!”
The dreams that lie in these private collections of 1980-90s differ from the various individual background and identity, longing for spread. As one of the essential goods during that period, like the other functional objects, pencil sharpener was usually shaped realistically, which becomes a vivid representation of the actual environment. Though quite limited in style, its motifs cover all aspects of common life. One would love to have even if other has the same.
Back to 2014, the surface structure of art world has been continuously stimulated by the enormous vitality of economy. Shanghai has recently witnesses an outburst of public and private museum, art fair, showroom, galleria, and other alternative space - while the amount of local artists seems quite insufficient for the volume. The frequent practitioner turnover and individual desire for energy transformation lead to a highly intellectual exploration in term of contemporary knowledge production.
Titled in advertising tone A New Museum’s Coming, the mini museum invited participants from diverse domains, who could look into the issue from a distance, including publisher, senior editor, freelancer, we media developer, philosopher, art historian, curator and artist etc. Their responses and methodologies will become part of the work presented in V ART CENTER space 1 - the non-profit space, and at same time appear in each of their own work – the field beyond exhibition space, and constantly updated to May 18.
Participants include:
Shen Qilan (PhD. Philosophy and Religious Studies, University of Münster, Art Critic, Cultural Exchange, Freelance Writer and Editor)
Gu Jing (MA in Art History, Qinghua University, currently works in the Education Department of Shanghai Museum)
Wang Xin (MA in New Media, The Art Institute of Chicago, Hypnotist, she is running THE GALLERY - an internet-and-entities-based utopia project, which will be presented at UK)
Ma Yimu (Excutive Manerger of wemedia ONE)
Liu Xing (MA in Cinema and Vision Art, Paris III Sorbonne-Nouvelle University, Senior Editor of Numéro)
Stephen Bradley (Associate Professor & IMDA Graduate Program Director,UMBC) + Hu Renyi (Artist, Professor at School of Visual Arts, New York)
Lu Xinghua (Associate Professor of Philosopher, Tongji University, recent projects include Future Festival, A Conversation with Jacques Rancière, Take·Place - TBC)
Liu Huatong (MA in Philosophy, Tongji University, Editor of Art World, Poet)
THANKS: Sarah Fraser 胡素馨, 徐宁 Xu Ning ,徐震 Xu Zheng ,Lynn Zhang,湛旭华 Zhan Xuhua ,纪洋 Ji Yang
Support: ITOPIA ,Shanghai Institute Of Visual Art,BAZART ,COOL, K2 STUDIO, hiart
顾婧
Gu Jing
卷笔刀的大片
Fashion Shoot Of The Pencil Warriors
照片
Photography
Stephen Bradley & 胡任义 Renyi Hu
铅笔勇士
Pencil Warriors
视频
Video
2014
铅笔勇士,是协同完成的作品。庆贺不起眼的工具作为知识分子残害无知的学生武器。在现代神话中,铅笔代表知识的魔杖,教唆建立创新实践、不断发展的紧迫未来。重复铅笔图像的视觉取向创建推进的形状,其难以捉摸的形式通向负暗示、零点意识、负空间。
铅笔勇士的声音,基于艺术家通过发现字符的语言学习来操纵铅笔,然后他会擦除和写入,削尖铅笔,擦除和写入和锐化铅笔写中国字 —直到仪器太小为了这个特定的声波起作用。
a collaborative work in progress, celebrates the humble tool that functions as an intellectual weapon to slay ignorance in the hands of willing students. In modern mythology, the pencil represents the magic wand of literacy that allows the creation of innovative practices for an evolving and urgent future. The visual orientation of the repeated pencil images creates a gestalt shape whose elusive form is obliquely implied by the via negative, the zero point of consciousness, the negative space.
The sound composition of Pencil Warriors builds upon the aural manipulation of pencils as the American artist attempts to write Chinese characters by coping found characters from a language study book, then he erases and writes, sharpens the pencil, erases and writes and sharpens the pencil – until the instrument is too small to function for this particular sonic endeavor.
王欣
Wang Xin
一个失落在时间中的博物馆
A Museum Lost in The Time is a E-literature work.
网络文学
Network literature
Web: vvwxvv.org/a_museum_lost_in_the_time.php
2014
《一个失落在时间中的博物馆》是一个被不同时间“碎片”割裂开了的想象中的“博物馆”。这个“博物馆”不是一个现实意义中的博物馆,在这个博物馆中没有空间中物品的陈列,取而代之的是在不同“时间碎片”中所“陈列”的一些虚构的世界,一些虚构的人物,事件,物品....观众有时可以像阅读小说一样去阅读,有时需要做出在自己的选择,有时观众也可以在这个”博物馆“中留下自己的”陈列品。当观众在网络上点击“进入”这个作品-这个虚构的“博物馆”的的各自不同的时间,也决定了各自在这个“博物馆”中的不同的体验。《一个失落在时间中的博物馆》是一个可以持续发展的作品,这次在这个展览所持续的这段时间中所展示的《一个失落在时间中的博物馆》只是这个“博物馆”在这段时间碎片中的一个呈现。
In this work the artist imagines an unusual "museum" which itself is split by different "fragments" of time. No any museum items on display in order one by one, instead are various fictional worlds, characters, events, objects and so on displayed themselves in different fragments of time.
刘星
Xing LIU
影片
Movie
在我们这个信息爆炸的年代,书写工具已经被用得越来越少,卷笔刀已经彻底从大部分人的生活中消失。卷笔刀的引申义是在旋转(动作)的同时不断激发内在的潜能(削出铅笔尖锐的部分以便书写),它是工具的工具。
影像是想象中的工具,电影诞生之初的运动影像的震慑力已经被极大地稀释,“所有在大荧幕上运动的影像都是电影”这句名言,在这个信息期待被无限病毒性传播的年代,就像是咖啡的泡沫,又或像“断了气”里的爱情那样,效力低到前所未有。
"All of the images on the big screen movement is the movie" this quote, in this information to be infinite viral propagation s, like the bubble of coffee, or like the love "expired", low effect to the unprecedented.
沈奇岚
Shen Qilan
和卷笔刀收集者的聊天
An Interview With The Collector
语句摘录+录音
Record Mp3
马一木
Ma Yimu
收了全世界
To Own The World
一分钟视频
M4v
刘化童
Liu Huatong
给卷笔刀的诗
Poem
陆兴华
lu Xinghua
几分钟的采访摘录:
美术馆功能在萎缩,其它的空间抢了影响力,比如媒体也来抢,这个情况怎么办?
实际上,这和一般网络和微信上讨论问题是一样的,甚至可以更开放、更共享!
我现在是不要你来给我宣布什么了,我和广告公司和博客一样活泼。
就像面对困境,不能说去找个药房!
态度也许应该是这样的:更加深入——你抢我嘛,我还不要呢,我还不在乎呢!
现在,策展人和美术馆的功能越来越萎缩也没有关系。把展览渐渐地变成party,只要事件能够成立,就已经成功。一个三分钟的事件能扩大,它就成功了!
是重新认识自己的功能的时候了!
——陆兴华
Gu Jing
卷笔刀的大片
Fashion Shoot Of The Pencil Warriors
照片
Photography
Stephen Bradley & 胡任义 Renyi Hu
铅笔勇士
Pencil Warriors
视频
Video
2014
铅笔勇士,是协同完成的作品。庆贺不起眼的工具作为知识分子残害无知的学生武器。在现代神话中,铅笔代表知识的魔杖,教唆建立创新实践、不断发展的紧迫未来。重复铅笔图像的视觉取向创建推进的形状,其难以捉摸的形式通向负暗示、零点意识、负空间。
铅笔勇士的声音,基于艺术家通过发现字符的语言学习来操纵铅笔,然后他会擦除和写入,削尖铅笔,擦除和写入和锐化铅笔写中国字 —直到仪器太小为了这个特定的声波起作用。
a collaborative work in progress, celebrates the humble tool that functions as an intellectual weapon to slay ignorance in the hands of willing students. In modern mythology, the pencil represents the magic wand of literacy that allows the creation of innovative practices for an evolving and urgent future. The visual orientation of the repeated pencil images creates a gestalt shape whose elusive form is obliquely implied by the via negative, the zero point of consciousness, the negative space.
The sound composition of Pencil Warriors builds upon the aural manipulation of pencils as the American artist attempts to write Chinese characters by coping found characters from a language study book, then he erases and writes, sharpens the pencil, erases and writes and sharpens the pencil – until the instrument is too small to function for this particular sonic endeavor.
王欣
Wang Xin
一个失落在时间中的博物馆
A Museum Lost in The Time is a E-literature work.
网络文学
Network literature
Web: vvwxvv.org/a_museum_lost_in_the_time.php
2014
《一个失落在时间中的博物馆》是一个被不同时间“碎片”割裂开了的想象中的“博物馆”。这个“博物馆”不是一个现实意义中的博物馆,在这个博物馆中没有空间中物品的陈列,取而代之的是在不同“时间碎片”中所“陈列”的一些虚构的世界,一些虚构的人物,事件,物品....观众有时可以像阅读小说一样去阅读,有时需要做出在自己的选择,有时观众也可以在这个”博物馆“中留下自己的”陈列品。当观众在网络上点击“进入”这个作品-这个虚构的“博物馆”的的各自不同的时间,也决定了各自在这个“博物馆”中的不同的体验。《一个失落在时间中的博物馆》是一个可以持续发展的作品,这次在这个展览所持续的这段时间中所展示的《一个失落在时间中的博物馆》只是这个“博物馆”在这段时间碎片中的一个呈现。
In this work the artist imagines an unusual "museum" which itself is split by different "fragments" of time. No any museum items on display in order one by one, instead are various fictional worlds, characters, events, objects and so on displayed themselves in different fragments of time.
刘星
Xing LIU
影片
Movie
在我们这个信息爆炸的年代,书写工具已经被用得越来越少,卷笔刀已经彻底从大部分人的生活中消失。卷笔刀的引申义是在旋转(动作)的同时不断激发内在的潜能(削出铅笔尖锐的部分以便书写),它是工具的工具。
影像是想象中的工具,电影诞生之初的运动影像的震慑力已经被极大地稀释,“所有在大荧幕上运动的影像都是电影”这句名言,在这个信息期待被无限病毒性传播的年代,就像是咖啡的泡沫,又或像“断了气”里的爱情那样,效力低到前所未有。
"All of the images on the big screen movement is the movie" this quote, in this information to be infinite viral propagation s, like the bubble of coffee, or like the love "expired", low effect to the unprecedented.
沈奇岚
Shen Qilan
和卷笔刀收集者的聊天
An Interview With The Collector
语句摘录+录音
Record Mp3
马一木
Ma Yimu
收了全世界
To Own The World
一分钟视频
M4v
刘化童
Liu Huatong
给卷笔刀的诗
Poem
陆兴华
lu Xinghua
几分钟的采访摘录:
美术馆功能在萎缩,其它的空间抢了影响力,比如媒体也来抢,这个情况怎么办?
实际上,这和一般网络和微信上讨论问题是一样的,甚至可以更开放、更共享!
我现在是不要你来给我宣布什么了,我和广告公司和博客一样活泼。
就像面对困境,不能说去找个药房!
态度也许应该是这样的:更加深入——你抢我嘛,我还不要呢,我还不在乎呢!
现在,策展人和美术馆的功能越来越萎缩也没有关系。把展览渐渐地变成party,只要事件能够成立,就已经成功。一个三分钟的事件能扩大,它就成功了!
是重新认识自己的功能的时候了!
——陆兴华